MICHELANGELO 


CLASSICS  IN  ART  SERIES 


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Bildnis  Mi  ch  el  a  ngel  o  s 

Aussclinitt  aus  einem  deni  Salviati  zugeschriebenen  Getnalde  in  der  Samtnlung  Chaix  d'Est-Ange  in  Paris 


THE    WORK    OF 


MICHELANGELO 


reproduced  in 
One   Hundred  and  Sixty-nine  Illustrations 


WITH    A    BIOGRAPHICAL   INTRODUCTION 
ABRIDGED    FROM 

FRITZ     KNAPP 

.     1/ 


NEW    YORK 

BRENT  ANO'S 
MCMXIII 


Copyright,   igoS,  by   Brentano's 


'%<> 


MICHELANGELO 


267392 


MICHELANGELO 

HIS    LIFE    AND    HIS    ART 

The  birth  of  Michelangelo  took  place  at  the  time  of  the  passing 
of  the  storm  of  the  Renaissance.  That  storm  was  followed  by  the 
crystallization  of  the  art-spirit  of  Tuscany  in  the  person  of  this 
supremely  gifted  creative  artist  who  was  destined  to  embody  the 
deepest  feelings  in  the  soul  of  the  people  of  Italy.  In  the  work  of 
Michelangelo  the  wild  passions  of  the  race  to  which  he  belonged 
found  wonderful  expression,  an  expression  of  the  South  comparable 
to  that  which  Rembrandt  accomplished  of  the  North.  What  Rem- 
brandt did  for  the  Teutonic  spirit,  Michelangelo  did  for  the  Latin. 
To  both  these  masters  art  was  the  articles  of  their  living  faith,  a 
faith  to  which  they  devoted  their  lives  with  almost  impassioned  self- 
sacrifice. 

Michelangelo  was  descended  from  a  pure  Etruscan  family.  His 
ancestors  had  lived  in  Tuscany  for  centuries,  and  in  Florence  the 
Buonarroti  family  had  been  known  for  many  generations.  Its  mem- 
bers had  occupied  the  highest  public  positions.  There  Ludovico 
di  Leonardo  Simone  Buonarroti  had  held  the  office  of  Podesta  of 
Chiusi  and  Caprese,  and  in  Caprese  was  born  on  the  6th  of  March, 
1475,  to  Francesca  and  Ludovico  their  second  son,  Michelangelo. 
Shortly  after,  the  family  moved  to  Florence,  where  Michelangelo 
grew  up  and  was  educated. 

Early  in  life  this  new  Buonarroti  evinced  the  biting  wit  and 
sharp  tongue  which  were  to  bring  him  so  many  enemies  later  in  life. 
He  received  his  first  wound  while  studying  in  the  Brancacci  chapel, 
where  a  young  sculptor,  Torrigiani  by  name,  became  so  enraged  that 
he  broke  Michelangelo's  nose,  a  disfigurement  which  the  artist  bore 
to  the  grave.  His  passionate  temper  also  remained  with  him.  When 
in  1506  Pope  Julius  II,  irritated  by  Michelangelo's  sharp  retorts, 
refused  to  grant  him  admittance  and  had  him  shown  the  door  by  a 
groom,  the  artist  stormed  with  rage,  packed  up  his  belongings  and 

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left  Rome  after  sending  the  Pope  the  following  letter:  "  Holy 
Father:  This  morning  I  was  thrown  out  of  the  Palace  by  your  Holi- 
ness's  order.  I  therefore  let  you  know  that  from  now  on,  if  you 
desire  to  see  me,  you  will  have  to  look  for  me  elsewhere."  It  speaks 
well  for  the  Pope's  high-mindedness  that,  in  spite  of  these  little  dif- 
ferences, he  continued  to  treat  Michelangelo  with  regard. 

The  greatest  genius  is  but  a  human  being  to  his  contemporaries, 
and,  high  as  Michelangelo's  gifts  were  held  by  the  men  of  his  time, 
there  were  not  a  few  who  tried  to  vex  his  life  and  put  stumbling 
blocks  in  the  way  of  his  success.  Bramante,  for  instance,  the  archi- 
tect of  St.  Peter's,  endeavored  by  many  means  to  sow  hatred  between 
Raffael  and  his  brother  artist.  Andrea  Sansovino  and  Baccio  Ber- 
dinelli  did  the  same.  This  picture  of  the  relations  between  artists 
in  the  days  of  the  Renaissance  is  not  too  pleasant  an  one  to  contem- 
plate. Envy  and  vanity  played  no  small  part  then,  even  as  they  do 
now,  and  Michelangelo  was  not  the  man  to  sit  quietly  under  the 
slings  and  arrows  of  his  enemies.  His  retorts  aggravated  matters, 
so  that  he  found  himself 'alone.  And  it  was  well  that  it  happened 
so.  Michelangelo  was  one  of  those  Titans  who  are  self-centred  in 
their  own  might.  Work  was  the  best  expression  of  the  spirit  for  him, 
and  in  work  he  found  a  vent  for  his  higher  feelings. 

He  was  a  silent  man,  generally,  among  men.  We  read  much  of 
his  affection  for  his  relatives,  but  of  love  for  a  woman  we  know  noth- 
ing. His  relations  with  Vittoria  Colanna,  which  have  been  worked 
up  into  a  love  romance,  w^ere  of  quite  a  platonic  character.  They 
only  knew  each  other  intimately  in  1538,  and  then  both  were  on  the 
threshold  of  old  age.  His  poems  are  not  the  expression  of  the 
passion  of  a  young  man;  they  are  the  religious  an.d  philosophical 
reflections  of  an  old  man  weary  of  life.  It  is  when  he  wields,  the 
chisel  or  the  painter's  brush  that  the  passion  in  the  man  shows  itself, 
and  the  creative  imagination  finds  clearest  expression. 

In  the  days  of  the  Renaissance  the  free  citizens  of  Italy  were 
distinguished  for  their  family  pride,  which  found  its  most  dignified 
labor  in  safeguarding  and  improving  the  estates  of  the  family.  Any- 
thing like  a  trade  was  obnoxious  to  it,  so  that  when  the  young 
Michelangelo  determined  to  be  an  artist,  it  was  only  after  long 
resistance  that  his  father  permitted  him  to  become  apprenticed  to 
what  was  then  considered  a  trade.  In  later  years,  when  Michel- 
angelo had  attained  the  highest  honors  and  fame,  he  expressed  this 
pride  in  a  letter  he  wrote  in  1548:  "  Tell  the  priest  not  to  write  any 
more  to  the  '  sculptor  Michelangelo,'  because  I  am  known  onlv  as 

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Michelangelo  Buonarotti;  and  if  a  Florentine  desires  to  have  an 
altar  picture  painted,  I  let  him  search  for  a  painter.  For  I  have 
never  been  painter  or  sculptor  in  the  sense  that  I  kept  a  store.  I 
have  always,  for  the  honor  of  my  fathers  and  brothers,  even  when 
I  served  popes,  guarded  myself  in  that  respect." 

The  boy  first  served  under  Domenico  Ghirlandajo,  in  1489,  but 
of  that  schoolday  period  only  a  few  sketches  remain.  They  bear 
clear  testimony  to  a  diligent  study  of  the  frescoes  of  Masaccio  in  the 
Brancacci  chapel.  Strangely  enough  they  also  seem  to  verify,  from 
the  cross-line  work,  the  theory  that  the  young  artist  had  studied  the 
engravings  of  Martin  Schongauer,  and  that  his  first  work  was  a 
colored  copy  of  his  sketches  for  St.  Anthony. 

Michelangelo  did  not  stay  long  with  Ghirlandajo,  for  in  1490 
he  entered  the  workshop  of  Bartolo.  With  this  pupil  of  the  great 
Donatello  he  found  what  he  was  looking  for.  From  this  time  also 
began  his  intimacy  with  the  Medicis.  Lorenzo  the  Magnificent  espe- 
cially helped  the  youth  in  every  way.  He  overcame  the  father's 
opposition  to  the  son's  desire  for  an  art  career,  and  received  the 
young  man  at  his  house,  where  he  met  the  celebrities  of  the  day. 
How  the  great  Lorenzo  came  to  know  the  young  Michelangelo  is 
thus  told  by  Conivi  in  the  artist's  own  words:  "  One  day,  Lorenzo, 
walking  in  the  gardens  of  San  Marco,  found  the  boy  copving  an 
antique  faun  mask.  He  was  surprised  at  the  excellence  of  the  work, 
but  remarked  jokingly  that  so  old  a  faun  would  scarcely  have  all 
his  teeth.  The  boy  immediately  knocked  out  some  of  the  faun's 
teeth  and  then  presented  the  work  to  Lorenzo."  Whether  the  story 
be  true  or  not,  the  faun's  mask  in  the  Museo  Nazionale  which  has 
been  identified  with  this  tale  is  not  the  genuine  one. 

Bartolo's  influence  on  Michelangelo's  early  work  is  undoubted. 
It  is  marked  in  the  low  relief  of  the  "  Madonna  at  the  Stairs  ";  the 
stiffness  of  the  Madonna's  pose  and  the  lively  play  of  the  children 
are  distinctly  reminiscent  of  Donatello.  Of  course  the  weak  model- 
ling proves  also  that  the  young  sculptor  was  still  far  from  having 
attained  his  masterly  skill;  this  came  to  him  only  after  indefatigable 
industry  and  constant  effort.  Moreover,  his  powerful  and  impas- 
sioned imagination  required  exquisitely  accomplished  hands  to  give 
it  form,  and  these  could  only  come  to  him  after  years  of  labor. 

In  the*  fall  of  1494  Michelangelo  left  Florence  and  went  at  first 
to  Bologna.  He  did  not  trust  the  Medici,  he  said,  since  Lorenzo 
had  been  succeeded  by  the  flighty  Pietro.  During  the  six  months  he 
stayed  in  Bologna  he  executed  three  statuettes  for  the  Arch  of  St. 

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Dominicus  which  show  the  influence  of  the  last  of  the  great  Gothic 
artists,  Jacopo  della  Quercia,  especially  in  the  figure  of  St.  Petronius. 
The  third  figure,  St.  Proclus,  is  formed  after  the  St.  Agricola  of 
Niccolo  deir  Area.  Michelangelo  was  never  a  master  of  folds,  so 
that,  when  he  could,  he  made  his  figures  naked.  He  did  this  with 
the  St.  Proclus  of  the  Arch,  which  looks  more  like  an  ancient  bar- 
barian than  a  Christian  saint. 

For  Michelangelo  the  art  of  the  ancients  had  always  a  powerful 
attraction.  He  never  ceased  to  equal  and,  if  possible,  to  surpass  their 
masterpieces.  When,  in  1495,  he  returned  to  Florence,  he  made  a 
sleeping  Amor  with  the  direct  intent  of  counterfeiting  the  ancients. 
The  Amor  was  sold  as  a  genuine  antique  to  Cardinal  Riario.  The 
deception  bore  good  results,  for  the  Cardinal,  aware  of  the  fraud, 
summoned  Michelangelo  to  Rome,  and  the  future  builder  of  St. 
Peter's  entered  the  Eternal  City  for  the  first  time  on  the  25th  of 
June,  1496. 

In  Rome,  Michelangelo  could  satisfy  his  passion  for  the  an- 
tique. What  he  learned  from  the  work  of  the  ancients  is  splendidly 
realized  in  his  statue  of  Bacchus,  ordered  in  1497,  by  Jacopo  Galli. 
Unfortunately,  we  are  not  in  a  position  to  compare  his  frescoes  with 
the  work  he  did  before  the  Roman  period,  because  the  work  he  did 
then  has  all  been  lost — the  wooden  crucifix  for  S.  Spirito;  the  Her- 
cules, the  Giovannino  and  the  sleeping  Amor,  have  all  disappeared. 
Comparing  this  Bacchus  with  the  earlier  "  Proclus  "  we  see  at  once 
the  enormous  strides  the  artist  had  made,  both  in  technique  and 
treatment.  The  Bacchus  is  a  piece  of  pure  realism  of  almost  brutal 
power.  Intoxication  is  evident  in  every  suggestion  of  movement, 
and  yet  the  truth  of  the  presentation  strikes  us  as  admirable.  The 
exact  opposite  of  this  Bacchus  is  the  "  Pieta,"  ordered  in  1498.  It 
is  an  idealization  of  the  soul's  aspiration,  in  impressive  dignity  and 
silent  resignation.  No  purer  Virgin  Mary  has  ever  been  chiselled. 
Her  silent  suffering  seems  to  say:  "  Behold  my  Sorrow."  Closely 
related  in  treatment  to  this  "Pieta"  is  the  Madonna  of  Brugge 
which  Michelangelo  executed  later.  It  is  the  same  subject,  but 
treated  even  with  greater  clearness  and  refinement;  the  sharp  con- 
trasts of  the  former  give  place  to  a  more  delicate  accentuation.  Such 
tender  harmony  and  soft  feeling  are  seldom  found  in  the  work  of 
this  master. 

In  sharp  contrast  to  these  is  the  next  work,  the  famous  "  David." 
This  we  may  call  the  last  wild  outburst  of  quattrocento  realism.  It 
was  the  artist's  ambition  to  give  the  Florentines  something  extraor- 

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dinary,  and  he  did.  A  marble  block,  six  metres  in  length,  was  given 
Michelangelo  by  Pietro  Soderini  in  1501.  Out  of  this  giant  rock 
something  wonderful  was  to  appear.  With  almost  fanatic  zeal 
Michelangelo  began  it  on  Sept.  13,  1501.  By  the  beginning  of  1502 
it  was  completed,  and  the  "  David  "  was  the  result. 

The  whole  of  Florence  was  summoned  to  decide  where  the 
statue  was  to  be  placed.  Michelangelo  and  Leonardo  favored  the 
Loggia  dei  Lanzi,  and  it  would  have  been  placed  there  but  for 
the  fact  that  the  square  had  to  be  kept  free  for  popular  festivities.  It 
was  placed  instead  in  a  position  next  to  the  gate  of  the  Signoria. 
There,  from  Sept.  8,  1504,  the  "David"  stood  as  a  guardian  of 
liberty,  in  place  of  the  "  Judith  "  of  Donatello  which  had  been 
erected  there  in  1495  to  commemorate  the  expulsion  of  the  Medici. 
In  1874,  however,  the  "David"  was  removed  into  the  Academy, 
where,  in  a  small  inside  room,  it  is  now  hidden,  and  bears  standing 
witness  to  the  stupidity  of  museum  officialism. 

The  "  David  "  shows  the  extreme  of  Michelangelo^s  realism. 
It  lacks  the  rhythm  of  proportion  and  clearness  of  motive  which  are 
so  necessary  to  the  sense  of  beauty.  The  moment  chosen  by  the  artist 
is  that  of  the  high  tension  immediately  before  the  sling  is  thrown  at 
the  giant  Goliath.  The  eyes  are  directed  sharply  at  the  approaching 
enemy,  and  the  feet  are  light  and  springy.  We  feel  that  in  the  next 
moment  the  left  foot  will  shoot  out  and  the  left  hand  will  throw 
back  the  sling-sack  containing  the  stone.  It  is  a  masterpiece  of  the 
quattrocento  spirit. 

A  change,  however,  came  in  the  wax  statuette  in  the  Casa  Buo- 
narroti, apparently  a  model  for  a  bronze  "  David,"  ordered  in  1502. 
This  evinces  a  more  graceful  position  and  richer  effect  of  motion. 
The  change  may  in  all  likelihood  be  due  to  the  influence  of  Leo- 
nardo, w^ho  had  returned  to  Florence  in  1 500-1.  This  change  is  also 
manifest  in  the  Doni  Madonna  and  the  marble  relief  in  London.  A 
new  period  in  the  art  of  Michelangelo  dates  from  now  on.  The 
spirit  of  the  cinquecento  takes  the  place  of  that  of  the  quattrocento 
realism.  It  comes  like  the  awakening  to  a  new  consciousness.  No 
one  but  Leonardo,  the  ideal  type  of  spiritual  power,  could  have 
effected  this.  It  must  be  remembered  that  Michelangelo  then  was  not 
what  he  is  to  us  now.  He  was  a  beginner,  and  could  scarcely  resist 
the  magnetic  influence  of  so  remarkable  a  personality  as  Leonardo's, 
a  man  equally  great  as  artist,  scientist,  musician,  and  scholar.  In 
the  three  Tondi,  especially  the  one  in  the  Museo  Nazionale,  Michel- 
angelo shows  his  new  awakening.     The  importance  of  the  change 

9 


can  scarcely  be  overestimated.  Here,  at  last,  is  shown  the  neces- 
sity for  the  entire  independence  of  the  figure.  The  motive  of 
motion  is  here  in  the  figure  itself,  and  not  in  its  accessories.  Michel- 
angelo recognized  that  motion  must  be  dependent  on  the  figure,  and 
this  dependence  he  found  in  the  purely  mechanical  gravity  by  which 
the  body  receives,  so  to  speak,  its  own  physical  centre.  The  motion 
revolves,  as  it  were,  around  this  inner  pressure  of  the  masses,  which 
act  as  a  centripetal  force  cohering  the  motions  to  a  vertical  line.  It 
is  in  the  vividly  moving  line  and  the  pressing  mass  that  the  artist  for 
the  first  time  realized  the  possibility  of  making  stone  eloquent. 

In  his  next  work,  the  carton  of  the  Battle  of  Cascina,  which 
Pietro  Soderini,  the  Gonfaloniere  of  Florence,  commissioned 
Michelangelo  to  do,  the  young  artist  showed  himself  perfectly  in- 
toxicated with  artistic  motives.  He  was  given  the  work  to  compete 
with  the  elder  Leonardo,  who  had  received  his  order,  in  the  spring 
of  1504,  for  a  fresco  which  was  to  adorn  the  great  hall  of  the  City 
Hall,  to  represent  the  glorious  history  of  Florence.  Leonardo  fin- 
ished his  fresco,  but  Michelangelo  was  called  to  Rome  in  1505,  and 
his  work  on  the  carton  was  interrupted.  He  returned  to  Florence 
in  1506  and  worked  on  it  for  several  months.  He  then  allowed  it 
to  lie  and,  unwisely,  permitted  his  work  free  access  for  artists  to 
study.  It  thus  fell  a  victim  to  the  carelessness  of  copyists.  A  spir- 
ited entire  sketch  in  the  Albertina,  a  poor  engraving  by  Schiavonetti, 
and  a  very  careless  grisaille  in  Holkham  give  us  but  imperfect  ideas 
of  it. 

It  became  more  and  more  clear  to  Michelangelo  that  the  lan- 
guage of  the  artist  is  a  language  of  signs  which  consist  of  line  and 
mass,  and  it  is  in  the  eloquent  expression  of  the  struggle  between 
these  signs  that  he  must  embody  his  psychical  motives.  In  this  sense 
Michelangelo  shows  his  kinship  with  modern  thought.  It  was  the 
completion  by  him  of  the  great  work  of  the  Renaissance  which  lib- 
erated the  individual  from  the  chains  of  feudalism.  In  thus  giving 
plastic  art  its  language  of  signs,  he  liberated  it  from  the  binding 
traditions  of  the  other  arts  and  from  religion.  He  stands  in  strong 
^contrast  not  only  with  the  Middle  Ages,  but  with  the  ancients.  The 
'ancients  attempted  to  subject  the  individual  expression  to  the  laws 
of  beauty.  Christianity  substituted  for  the  laws  of  beauty  the  moral 
law  of  humanity.  Michelangelo  made  art  the  language  of  his  own 
I  soul.  His  waving  line  makes  of  the  dead  mass  a  living  form.  All 
feeling  comes  from  contrast.  It  is  when  we  meet  with  resistance 
either  in  ourselves  or  from  without  that  we  become  conscious  of  our- 

10 


selves,  and  in  overcoming  those  resistances  we  attain  freedom.    Thus 
it  is  that  in  contrast  with  the  world  does  our  own  personality  grow. 
In  Michelangelo  the  lighter  the  wave  line  the  happier  is  his  expres-|\ 
sion  of  feeling;  the  more  inert  the  mass  the  greater  is  his  oppression^ 
of  feeling.     The  rhythm  of  his  motions  is  not  a  rhythm  of  beauty, 
but,  like  a  melody  in  music,  it  is  a  rhythm  of  feeling. 

It  is  with  these  ideas  that  we  may  best  view  Michelangelo's 
masterpiece,  which  shows  his  genius  in  its  full  power.  We  refer  to 
the  painting  on  the  ceiling  of  the  Sistine  Chapel. 

In  March,  1505,  Michelangelo  had  been  summoned  to  Rome 
by  Pope  Julius  II  at  the  instigation  of  Giuliano  della  San  Gallo. 
After  some  hesitancy  the  Pope  gave  him  the  order  for  his  tomb, 
which  was  the  beginning  of  "  the  tragedy  of  the  tomb,"  a  matter 
to  which  we  shall  refer  later.  Its  progress  was  hindered  by  the 
intrigues  of  Bramante,  who,  in  1506,  had  been  appointed  architect 
of  St.  Peter's.  In  the  March  of  that  year  Michelangelo  fled  to 
Florence.  The  Pope  was  anxious  for  a  reconciliation,  and  this  took 
place  in  November.  An  order  was  then  given  Michelangelo  for  a 
great  bronze  statue  of  the  Pope,  which  was  finished  in  1508,  and 
placed  above  the  gate  of  St.  Petronio.  In  151 1,  on  the  return  of 
Bentivoglio,  the  Pope's  enemy,  this  statue  was  broken  and  the  bronze 
sold  to  Alfonso  d'Este  as  material  for  cannon. 

In  1508  Michelangelo  returned  to  Rome.    The  Pope,  moved  by  . 
Bramante,  who  was  anxious  to  turn  the  artist  from  his  plastic  work, 
gave  the  order  for  the  painting  of  the  chapel  of  Sixtus  IV,  which 
Michelangelo  accepted,  and  on  which  he  began  to  work  on  May  10, 

1508. 

The  mere  mechanical  labor  on  this  work  must  have  been  enor- 
mous. The  wooden  stage  erected  for  him  by  Bramante  could  not 
be  used,  and  a  new  one  had  to  be  built.  The  first  layer  of  color  fell 
ofif,  and  he  had  to  find  a  satisfactory  new  mixture.  The  help  hired 
for  him  in  Florence  were  no  good,  and  they  were  discharged,  and 
others  taken  on  and  again  discharged.  Finally,  Michelangelo  had 
to  finish  the  work  alone. 

At  first  he  had  intended  to  use  twelve  figures  only,  those  of  the 
twelve  Apostles.  But  these  he  found  would  make  the  design  too 
simple.  His  imagination  and  his  creative  impulse  demanded  more 
and  more,  and  in  the  end  he  had  painted  three  hundred  and  forty- 
three  figures.  The  work  was  so  exacting  that  he  hardly  took  time 
to  eat.  The  impatient  old  Pope  kept  continually  hurrying  and 
importuning.     On  Sept.  i,  15 10,  he  had  finished  the  great  cupola. 

II 


Then  followed  a  short  interval  until  January,  1511,  when  he  began 
again.  By  October,  15 12,  he  had  completed  the  corners  and  lunettes, 
and  on  the  31st  of  that  month  the  chapel  was  thrown  open  to  the 
public. 

If  ever  the  hand  of  men  did  a  thing  that  has  never  been  equalled, 
it  is  certainly  this  ceiling  of  Michelangelo's.  It  is  so  stupendous  an 
achievement  that  it  is  impossible  to  find  even  a  comparison  with  it. 
Neither  in  the  ancient  nor  in  the  Renaissance  art  do  we  find  any- 
thing to  equal  it.  It  was  a  departure  in  execution  from  anything 
that  had  hitherto  been  accomplished.  It  is  filled  with  Michelan- 
gelo's feeling  for  the  plastic,  and  betrays  no  hint  of  a  striving  after 
effect  by  means  of  optical  illusions.  It  is  not  a  unit  intended  to  be 
seen  from  one  position.  Figures  stand  isolated  against  figures,  each 
independent  in  itself. 

As  we  enter  the  chapel  we  see  a  whole  separated  into  rhythmic 
repetitions,  with  an  apparent  strange  contradiction  in  that  the  eye 
has  to  travel  backward  in  the  story  told.  It  was  in  this  way  that 
Michelangelo  had  worked.  The  first  representation  deals  with  the 
history  of  Noah,  in  which  figures  of  no  extraordinary  proportions 
are  presented.  A  break  follows — the  story  of  Cain  and  Abel  being 
omitted — and  we  are  led  at  once  into  the  Garden  of  Eden.  Here 
the  figures  are  of  heroic  size;  and  from  here  on  they  become  larger 
and  larger.  We  feel  the  wild  expression  of  the  artist's  creative  pas- 
sion until,  in  the  last  picture,  that  of  the  first  day  of  the  Creation, 
God  the  Father  Himself  is  seen  in  the  wild  chaos  of  a  raging  tornado. 
Everything,  however,  is  treated  as  plastic  and  is  felt  as  plastic.  The 
vague  spiritual  visions  of  the  quattrocentists  are  no  more.  Here  are 
living  forms  embodying  the  hidden  powers  of  men  and  the  universe. 

Could  the  attraction  of  the  mass  be  more  expressive  than  it  is 
in  the  Creation  of  Eve?  Not  by  touch  but  by  a  wonderful  secret 
force  does  the  powerful  hand  of  God  the  Father  raise  Eve.  The 
figure  in  profile  rises  in  life-like  silhouette  to  the  right  from  the 
sleeping  Adam,  whose  body  expresses  so  vividly  the  non-resistance 
of  the  lifeless,  helpless  mass. 

Then  again,  in  the  creation  of  Adam,  the  life-giving  force  of 
the  line  has  never  more  powerfully  been  expressed  by  Michelangelo. 
To  the  right  the  heavenly  powers  in  a  wild  cyclonic  storm  are  held 
together  by  the  waving  mantle  of  the  God  the  Father.  The  wild 
disorder  is  finally  collected  in  the  pointed  finger  of  the  Creator,  from 
*  whence  flows  the  life  into  the  body  of  Adam,  who,  as  he  wakens  into 
1,  consciousness,  is  directing  his  dreamy  gaze  at  the  source  of  life. 

12 


In  the  other  days  of  the  creation  the  figures  of  the  God  the 
Father  become  of  gigantic  proportions.  They  are  no  longer  of 
human  size,  but  enormous  masses.  Great,  simple  gestures  indicate 
the  all-powerful  will.  He  moves,  a  heavy  embodied  force  over  the 
waters.  A  powerful  hand  rises,  reaches  out  from  the  cloud,  and 
the  separation  of  Earth  and  Water  is  accomplished.  The  placing 
of  the  sun  and  moon  is  indicated  in  a  similar  manner — a  suggested 
motion  is  sufficient  to  show  the  act.  A  stretching  out  of  the  raging 
creating  power  brings  the  earth,  and  causes  the  planets  to  grow. 
Finally,  we  are  taken  to  the  utter  chaos  of  the  beginning.  From 
an  indomitable  cyclone  of  storm  the  creative  will  separates  the  chaos 
into  light  and  darkness. 

To  this  sacred  history  are  added  the  powerful  figures  of  seven 
prophets  and  five  Sibyls:  Jonah,  Jeremiah,  Daniel,  Ezekiel,  Isaiah, 
Joel,  and  Zachariah.  The  Sibyls,  because  of  their  unusual  number, 
have  been  identified  as  the  five  divisions  of  the  earth:  Delphica  is 
Greece;  Erythrea  is  Greater  Greece;  Cumaca  is  Italy;  Persica  is 
Asia,  and  Libyca  is  Africa.  Here  also  the  historical  sequence  of  the 
story  is  inverse  to  the  order  of  treatment  and  work.  An  examination 
of  all  the  single  figures  show^s  us  that  the  sitting  motive  seemed  to  <y 
be  of  prime  interest  to  the  artist.  He  uses  it  in  almost  endless  varia- 
tions. Michelangelo's  work  is  distinguished  by  the  richness  of  his 
treatment  not  only  of  the  standing  figure,  but  of  the  sitting  and 
kneeling  postures. 

The  sitting  motive  was  not  absolutely  new  with  the  Renaissance. 
Before  this  new  birth  of  art  there  were  the  four  sitting  evangelists 
in  the  cathedral  of  Florence.  But  the  quattrocentists  avoided  the  sit-  >^ 
ting  figure,  and  even  in  Donatello  the  motive  is  not  understood.  The 
first  important  sitting  figure  is  the  bronze  statue  of  Pope  Innocent 
VIII  by  Antonio  Pollajuolo.  This  with  the  sitting  allegorical  fig- 
ures of  the  Virtues  undoubtedly  influenced  Michelangelo. 

With  the  completion  of  this  gigantic  work  in  1512  the  artist 
went  back  to  his  studio.  But  now  began  the  second  act  in  the  tragedy 
of  Michelangelo's  life — what  has  been  called  the  tragedy  of  the 
tomb.  The  Pope  was  not  too  greatly  interested  in  this  tomb.  He 
had  given  the  order  because  he  could  not  think  of  anything  better. 
Bramante's  remark  that  the  tomb  would  suggest  approaching  death 
was  in  itself  enough  to  damp  the  ardor  of  the  Pope,  who  desired 
nothing  so  much  as  to  live  long.  The  Pope,  however,  had  a  greats  ^ 
idea.  He  wisheii  to  announce  to  the  generation  coming  his  own 
glory  by  a  tomb  to  be  placed  in  one  ofthechapels  of  St.  Peter's.  '  ' 

13 


Where  Michelangelo  obtained  his  model  for  the  tomb  is  not 
known.  A  free-standing  tomb  was  in  itself  a  new  thing  at  that  time. 
It  was  to  consist  of  three  stories,  each  decorated  with  figures  in  relief 
after  the  manner  of  the  ancient  sarcophagi,  and  canopied  by  Uranus, 
the  heavens,  who  welcomes  the  figure  of  the  Pope. 

On  Feb.  21,  1513,  the  Pope  died,  and  his  relatives  made  a  new 
contract  for  the  tomb,  which  they  now  asked  should  be  built  with 
one  side  against  the  wall.  The  general  plan  was  changed  very  little, 
except  that  Mary  was  to  be  shown  meeting  the  dead  Pope.  In  a 
third  contract,  on  July  11,  1516,  the  side  was  shortened,  and  thus 
gradually  the  imposing  free-standing  tomb  became  smaller  and 
smaller  until,  by  the  fourth  contract  of  April  29,  1562,  it  had 
become  a  mere  tomb  in  the  wall  to  be  placed  in  the  church  of  San 
Pietro  in  Vincoli.  By  the  fifth  contract  outside  assistance  was  per- 
mitted the  artist,  and  Raflael  da  Montelupo  and  others  were  called 
in  to  help.  In  February,  1545,  the  monument  was  at  last  completed 
in  the  form  in  which  we  now  see  it  in  San  Pietro  in  Vincoli. 

The  question  arises:  What  did  the  artist  originally  plan?  Fur- 
ther, why  had  he  permitted  such  changes  and  alterations? 

He  had  begun  his  work  with  great  enthusiasm,  had  journeyed 
to  Carrara  in  1505,  and  had  selected  the  blocks  of  marble  for  the 
four  statues.  Then  came  the  quarrel  with  the  Pope,  and  later,  his 
work  on  the  ceiling.  In  151 1  he  began  again,  but  he  could  not 
devote  his  entire  thought  and  energy  to  it  until  he  had  completed 
the  ceiling.  The  great  statue  of  "  Moses  "  and  the  two  statues  of 
the  Slaves  were  finished  in  15 16.  But  these  are  nothing  by  com- 
parison with  the  mighty  work  of  the  ceiling.  The  Pope  had  given 
him  five  years'  time,  and  yet  in  twice  that  period  he  had  only  accom- 
plished three  statues.  The  Moses  masterpiece  was  originally  in- 
tended to  form  one  of  eight  similar  figures  which  were  to  adorn  the 
middle  story  of  the  tomb.  It  now  stands  alone  in  a  tomb  pressed 
against  the  wall  and  surrounded  by  mean   architecture. 

It  was  Michelangelo's  good  fortune  that  he  should  receive  new 
orders  which  called  for  his  highest  powers.  He  was  thus  never  com- 
pelled to  fritter  away  his  time  and  divide  his  thoughts  on  small 
things.  In  1513  Julius  II  had  been  succeeded  in  the  papal  chair  by 
Giovanni  Medici,  with  the  title  of  Leo  X.  Leo  entered  the  cities 
of  his  fathers  in  great  splendor,  and,  of  course,  monuments  were 
required  to  celebrate  the  glories  of  the  great  family.  The  incom- 
pleted facade  of  San  Lorenzo  was  to  be  finished,  and  in  1517  Michel- 
angelo, now  living  in   Florence,  was  ordered  to  furnish  a  model. 

14 


The  contract  of  Jan.  19,  1518,  gave  the  rcmuneraiion  as  40,000 
ducats.  It  was  to  be  a  two-story  fagade,  richly  adorned  with  recesses 
in  which  were  to  be  figures  and  reliefs.  The  contract,  however,  was 
dissolved  in  1520,  and  the  facade  never  executed. 

Instead  of  the  fagade,  however,  he  was  given  the  Chapel  of  San 
Lorenzo.  It  was  to  contain  four  tombs,  those  of  Lorenzo  the  Mag- 
nificent, Giuliano  the  Elder,  Lorenzo,  Duke  of  Urbino,  and  Giuli- 
ano,  Duke  of  Nemours.  In  1524  the  plan  was  enlarged  to  include 
the  tombs  of  the  two  Medicean  popes,  Leo  X  and  Clement  VII.  As 
we  see  from  the  drawings  two  of  the  tombs  were  to  adorn  one  wall. 
The  fourth  wall  with  a  recess  was  to  contain  the  altar.  Only  two 
of  the  tombs  were  finished,  those  of  Lorenzo  the  younger  and 
Giuliano,  and  the  finishing  touches  to  these  were  not  given  by  the 
master  himself,  but  by  Vasari  under  the  master's  directions.  In  1534 
Michelangelo  had  left  Florence. 
^  Perhaps  the  chief  progress  Michelangelo  made  is  his  success  in 
C  attaining  absolute  lack  of  color  in  plastic  art.  A  colorless  plastic  art 
really  owes  its  existence  to  him.  The  Quattrocentists  still  con- 
tinued to  paint  their  statues  in  the  belief  that  the  ancients  had  done 
the  same.  Leonardo  had  already  recognized  the  disturbing  influence 
of  strong  local  color,  and  had  used  instead  a  uniform  color.  Vivid 
color  afifects  the  eye,  causing  it  to  lose  its  sense  for  fine  modelling 
and  the  fine  play  of  lights  on  a  delicately  modelled  body.  Michel- 
angelo provided  a  colorless,  shadowless  background  against  which 
the  finely  modelled  form  stands  out  most  powerfully.  With  him 
painting  and  architecture  were  only  means  to  an  end. 

Another  progress  made  by  Michelangelo  is  in  the  change  in  sen- 
timent. In  place  of  the  strong  passion  and  energy  in  the  Sistine 
ceiling  is  a  sombre  melancholy,  a  feeling  absolutely  new  in  art.  The 
figures  do  not  oppose  each  other  with  individual  self-poise,  but 
blend  in  a  harmony  for  the  total  efifect.  This  is  especially  note- 
worthy in  the  "  Pensiero." 

The  art  of  Michelangelo,  and,  indeed,  the  whole  of  plastic  art, 
had  now  attained  its  highest  expression.  The  desire  for  complicated 
motives  grows.  A  number  of  statues  which  are  difiicult  of  arrange- 
ment chronologically,  and  which,  perhaps,  belong  to  a  later  period, 
show  this.  Of  special  beauty  is  the  "  David "  formerly  named 
Apollo,  in  the  Museo  Nazionale.  The  proportions  are  exceptionally 
moderate,  the  treatment  of  the  flesh  of  admirable  softness,  the  flow 
of  lines  clear  and  unexaggerated. 

His  last  remarkable  works  Michelangelo  executed  as  a  painter 

15 


and  architect,  and  not  as  a  sculptor.  On  Sept.  20,  1534,  he  had  left 
Florence,  never  to  see  it  again,  and  moved  to  Rome.  Shortly  after 
his  arrival  Paul  III  ordered  him  to  decorate  the  altar  wall  of  the 
Sistine  Chapel  with  a  giant  fresco  of  the  Last  Judgment.  The 
fresco  was  unveiled  on  Dec.  25,  1541.  To  this  painting  mankind  has 
shown  an  admiration  and  astonishment  rarely  given  to  any  work  of 
art.  It  is  no  longer  possible  to  enjoy  it  fully,  because,  unfortunately, 
its  condition  is  against  that.  The  blue  of  the  sky  is  disagreeably  loud, 
and  the  tone  of  the  bodies  gray  and  dead.  It  is  only  after  a  prolonged 
study  that  we  are  able  to  appreciate  the  beauty  of  the  forms.  Each 
body  is  a  masterpiece  in  anatomical  execution  and  full  of  feeling. 
The  painting  impresses  us  with  the  feeling  that  this  is  no  longer  the 
passionate  youth  or  the  vigorous  man,  but  the  aging  Michelangelo 
to  whom  fate  has  whispered  its  warnings.  He  was  living  in  more 
serious  times,  and  Vittoria  Colonna  had  come  into  his  life.  A  popu- 
lar verdict  would  give  higher  evidences  of  the  philosopher  emanci- 
pated from  religion  only  to  be  chained  by  his  new  thought.  This  is 
where  the  fifteenth-century  genius  had  already  foreshadowed  the 
seventeenth-century  sceptic. 

The  lengths  to  which  Michelangelo  finally  went  may  be  seen  in 
the  two  frescoes  of  the  Capella  Paolina,  executed  in  1542-50,  which 
show  an  exaggeration  in  motive  bordering  on  the  incomprehensible. 
Still,  in  spite  of  the  exaggeration,  they  are  so  sincere  in  their  truth 
that  they  have  the  same  quality  of  greatness  as  have  all  his  works. 
^^-^As  an  architect  Michelangelo  is  certainly  whimsical.  The  Porta 
Pia,  indeed,  is  grotesque.  But  even  here  the  work  is  not  sense- 
less. How  beautifully  light  is  the  effect  of  the  cupola  in  the  Chapel 
of  the  Medici.  How  imposing  is  the  plan  of  the  Capitoline  build- 
ings— the  magnificent  groupings  of  the  buildings  around  the  statue 
of  Marcus  Aurelius;  the  splendid  double  staircase  with  the  fountain 
and  river  gods  in  the  palace  of  the  senators.  All  exemplify  the 
spirit  of  the  great  artist  in  its  effort  to  embody  high  ideals. 

Once  again  did  this  masterful  spirit  assert  itself,  and  this  time 
he  set  his  own  task.  The  cupola  of  St.  Peter's  had  to  be  finished,  and 
Michelangelo  began  the  work  for  his  own  pleasure.  He  had  been 
the  architect  on  St.  Peter's  since  1547.  The  year  1557  and  1558  saw 
the  heaviest  of  the  work  done,  but  it  was  not  until  1592  that  it  was 
completed.  It  is  the  crown  of  the  grand  old  man's  life.  If  anything 
there  be  which  proclaims  Michelangelo's  glory,  it  is  surely  this 
cupola.  It  radiates  over  the  city  by  the  Tiber,  and  gives  a  visitor 
his  first  and  most  lasting  impression.     Bramante's   plans  were   in 

16 


existence  for  Michelangelo  to  follow,  and  he  did  so  to  a  certain 
extent;  but  the  architect-painter's  cupola  is  more  slender  than  Bra- 
mante's.  It  is  a  Tuscan's  spirit  now  which  reigns  and  raises  us 
gently  as  if  to  the  stars.  It  is  the  soul  that  rises — the  body  has  dis- 
appeared. 

Michelangelo  died  on  Feb.  27,  1564,  and  was  officially  buried 
in  the  Church  of  the  Apostles.  His  bones,  however,  were  carried  in 
secret  to  Florence,  where,  at  the  San  Croce,  he  was  solemnly  interred 
on  March  11  of  the  same  year.  On  his  tomb,  erected  in  1588  after 
plans  by  Vasari,  by  Giovanni  dell'  Opera,  sit  the  three  arts  of 
Sculpture,  Painting,  and  Architecture. 


17 


ABBREVIATIONS    AND    EXPLANATIONS 

H.  =  Height 
B.  =  Width 


AuF   HoLz  =  on  wood 

AuF   LEiNWAND  =  on  caiivas 

AuF  ScHiEFER  =  on  slate 


The  figures  giving  the  sizes  of  the  paintings  stand  for  metres 


'Floreiiz,  Museo  Buonarroti^ 

Die  Madonna  an  der  Treppe 
Virain  Marv  with  child  at  the  stairs       Um  1493—1-494 


Marmor,  H.  0,56,  B.  0,39 

La  Vieree  a  I'escalier 


Michelangelo    1 


s         ™ 


u 


'Berlin,  Kaiser-Friedrich-.Museum  Marmor,  H.  0,785 

Apollo 
Apollo  Apollon 


Bologna,  S.  DomeiiiLO 


St.  Petronius 


Der  heilige  Petronius 

1494 


Saint  Petrone 


'Bologna,  S.  Domenlco 

Si.  Proculus 


Der  heilige  Proculus 

1494 


Saint  Procule 


3ologna,  S.  Domenico  Marmor 

Leuchtertragender  Engel 
Angel  bearing  a  candlestick  1494  Ange  portant  un  chandelier 


Limdoii,  Victoria  and  Albert-Museui' 

Cupid 


Marinor    H.  1,0") 


Cupido 

1503—1504 


Cupidon 


"Florenz,  Museo  nazionale 

Der  trunkene  Bacchus 

The  drunken  Bacchus  1497 


Marmor,  H.  2,08 

Bacchus  ivre 


Florenz,  Museo  Buonarroti 

Skizze  ftir  den  David  auf  S.  12 

Um  1501 
Sketches  for  the  David-statue  —  Esquisses  pour  la  statue  de  David 


Links  Wachs,  H.  0,48,  reclits  Ton,  H.  0,52 

Skizze  ftir  einen  Bronze-David 

Um  1502 


11 


*Florenz,  Accademia  delle  belle  Artl 


Marmor,  H.  5,50 


David 

1501—1503 


12 


''Florenz,  Accademia  delle  bi'lle  Arti 


Marmor,  H.  5,50 


David 

1501—1503 


13 


Florenz,  Accadeniia  delle  belle  Arti 


David  (Teilbild) 

1501—1503 


14 


Florenz,  Accadtmia  Ucllt;  belle  Arti 


David  (Teilbild) 

1501—1503 


15 


'^Florenz,  Uffizien 

The  Holy  Family 


Die  heilige  Familie 

Urn  1503 


Auf  Holz,  Durchm.  1,18 

La  sainte  familie 


16 


tiriigge,  LlebfrauenKircl 


A\armnr,  11.  1,2', 


Madonna  mit  Kind 
Virgin  Mary  with  child  1500—1502  La  Vierge  avec  I'enfant 


Michelangelo    2 


17 


*  London,  Kgl.  Akademie  der  Kiinste  Marmor,  Durclim.  1,09 

Maria  mit  dem  Kinde  und  dem  kleinen  Johannes 
Virgin  Mary  with  ciiild  and  little  St.  John  Urn  1503      La  Vierge  avec  I'enfant  et  le  petit  Saint  Jean 


*Florenz,  Museo  nazionale  Marmor,  Durchm.O.SI 

Maria  mit  dem  Kinde  und  dem  kleinen  Johannes 

Urn  1503 
Virgin  Mary  with  child  and  little  St.  John  La  Vierge  avec  I'enfant  Jesus  et  le  petit  Saint  Jean 


19 


^Florenz,  Accademia  delle  belle  Art! 


St.  Matthew 
Unfinished 


Marmor,  H.  2,20 


Matthaus 

Unvollendet 
1504—1505 


Saint  Matthieu 
Inacheve 


20 


DIE  SIXTINISCHE  KAPELLE 

An  Stelle  einer  alteren  von  Papst  Nikolaus  III.  erbauten  Kapelle  des  vati- 
kanischen  Palastes  lieB  Papst  Sixtus  IV.  die  nach  ihm  benannte  Kapelle  durch 
den  florentinischen  Architekten  Giovanni  de'  Dolci  erbauen.  Ini  Jahre  1473  wird 
die  alte  Kapelle  zum  letzten  Male  erwahnt.  Bald  darauf  mu6  der  Neubau  be- 
gonnen  worden  sein ;  am  15.  August  1483  horte  der  Papst  darin  die  erste  Messe, 
und  am  24.  August  erfolgte  die  feierliche  Weihe.  Das  Innere  der  Kapelle  stellt 
sich  als  ein  einfacher  rechteckiger  Saal  von  48  m  Lange,  13,20  m  Breite  und  18  m 
Hohe  dar,  dessen  Langseiten  durch  je  acht  korinthische  Pilaster  gegliedert  sind. 
Zwolf  rundbogige  Fenster,  je  sechs  an  jeder  Langseite  oberhalb  einer  Galerie  mit 
eisernem  Gelander,  erhellen  den  Raum,  dessen  Decke  ein  flaches  Tonnengewolbe 
bildet  (vgl.  die  Abbildung  auf  S.  XXXI). 

Dieser  einfache  Raum  lud  zur  Ausschmiickung  durch  Gemalde  ein,  zu  denen 
die  grofien  Wand-  und  Deckenflachen  einen  geeigneten  Platz  boten.  Sixtus  IV. 
zog  zu  diesem  Zweck  die  florentinischen  Maler  Sandro  Botticelli,  Cosimo  Ros- 
selli,  Domenico  Ghirlandajo  und  Pietro  Perugino  heran,  mit  denen  er  am 
27.  Oktober  1481  einen  Kontrakt  abschloB,  auf  Grund  dessen  sie  sich  verpflichteten, 
bis  zum  15.  Marz  des  folgenden  Jahres  zehn  Darstellungen  aus  dem  Alten  und 
dem  Neuen  Testament  auszufuhren,  und  zwar  nach  den  Angaben  des  Architekten 
de'  Dolci.  Spater  wurde  die  Zahl  der  Wandgemalde  auf  zwolf  erhoht,  und  zu  ihrer 
Ausfiihrung  wurden  noch  Pinturicchio  und  Luca  Signorelli  hinzugezogen. 
Wie  es  schon  immer  die  christliche  Kunst  liebte,  bringen  die  Darstellungen  ent- 
sprechende  Szenen  aus  dem  Alten  und  dem  Neuen  Testament.  Auf  der  linken 
Wand  sehen  wir  das  Leben  Mosis  als  alttestamentliches  Vorbild  zu  dem  Leben 
Christi,  das  auf  der  rechten  Wand  dargestellt  ist.  Die  Darstellungen  sind,  be- 
ginnend  vom  Eingang:  A.  LinkeWand:  1.  Pinturicchio,  Die  Beschneidung  desMoses- 
knaben.  2.  Sandro  Botticelli,  Das  Jugendleben  des  Moses.  3.  Cosimo  Rosselli  (?), 
Pharaos  Untergang  im  Roten  Meer.  4.  Derselbe,  Die  Gesetzgebung  auf  Sinai. 
5.  Botticelli,  Die  Bestrafung  der  Rotte  Korah.  6.  Luca  Signorelli,  Das  Testament 
des  Moses.  B.  Rechte  Wand:  1.  Pinturicchio,  Die  Taufe  Christi,  2.  Botticelli,  Das 
Reinigungsopfer  des  Aussiitzigen.  3.  Domenico  Ghirlandajo,  Die  Berufung  der 
ersten  Junger.  4.  Cosimo  Rosselli,  Die  Bergpredigt  Christi.  5.  Pietro  Perugino, 
Die  Schlusselubergabe.  6.  Cosimo  Rosselli,  Das  letzte  Abendmahl.  An  der  Altar- 
wand  befand  sich  von  Pietro  Perugino  Die  Himmelfahrt  Maria  zwischen  zwei 
Fresken  von  demselben  Kunstler,  links  die  Rettung  des  Moses  aus  dem  Wasser  und 
rechts  die  Geburt  Christi  darstellend.  Das  Altarbild  und  die  beiden  Fresken  wurden 
beseitigt,  als  Michelangelo  mit  der  Ausfuhrung  des  Jungsten  Gerichts  begann. 

Oberhalb  dieser  Fresken,  zwischen  den  Fenstern,  befinden  sich  die  Bilder 
von  28  Papsten,  die  von  Fra  Diamante,  Ghirlandajo,  Botticelli  und  Rosselli  aus- 
gefuhrt  wurden.  Die  Namen  der  Papste  finden  sich  in  den  lateinischen  Inschriften 
unterhalb  der  Nischen,  in  denen  die  Figuren  wie  Statuen  stehen.  Unterhalb  der 
Fresken  wurden  die  Wande  von  Filippo  Germisone  mit  buntfarbigen  Teppich- 

(Fortsetzung  auf  der  Riickseite  des  Einschaltbildes) 


)ecke 


23 


mustern  bemalt,  die  an  hohen  Festen  durch  gewebte,  seit  1519  durch  die  be- 
ruiimten  „Arrazzi",  die  nach  Raffaels  Kartons  in  Arras  gewebten  Teppiche  (siehe 
Klassiker  der  Kunst,  Bd.  I:  Raffael,  4.  Aufl.,  S.  129  ff.),  bedeckt  wurden. 

Die  Wande  waren  so  mit  farbigem  Schmuck  bedeckt.  Nun  gait  es  noch,  die 
kahle  Decke,  ein  flaclies  Tonnengewdlbe,  zu  schmiicken.  Julius  II.,  der  zweite  aus 
dem  Geschlechte  der  Rovere,  ging  an  die  Vollendung  dieses  von  seinem  Onkel 
begonnenen  Werkes.  Schon  Anfang  1506  hat  er  den  Plan  gefafit,  aber  erst  Anfang 
April  ruft  der  Papst  Michelangelo  nach  Rom.  3000  Dukaten  soli  er  erhalten.  Am 
10.  Mai  1508  geht  er  an  die  Arbeit.  Wie  er  selbst  schreibt,  waren  im  ersten  Ent- 
wurf  nur  die  zwolf  Apostel  in  den  Bogenfeldern  vorgesehen;  die  iibrigen  Felder 
sollten  mit  Ornamenten  ausgefiillt  werden  (siehe  Zeichnung  in  London,  British 
Museum  [Frey,  Taf.  43]).  „Als  ich  das  Werk  anfing,  schien  es  mir  ein  arm- 
liches  Ding  zu  werden,  und  ich  sagte  dem  Papst,  es  dunke  mich,  dafi  die  Apostel 
auf  alle  einen  armlichen  Eindruck  machen.  Als  der  Papst  fragte:  Warum?  antwortete 
ich,  weil  sie  selbst  arm  waren.  Da  gab  er  mir  den  neuen  Auftrag,  ich  mdge 
machen,  was  ich  wolle,  er  werde  mich  zufriedenstellen,  und  ich  solle  die  Decke 
bemalen  bis  zu  den  geschichtiichen  Wandbildern  herab."  Bramante  sollte  zuerst 
das  Geriist  bauen.  Michelangelo  macht  eigne  Entwurfe  und  lafit  es  von  Piero  di 
Jacopo  Rosselli  aufrichten.  Dann  erst  entwarf  Michelangelo  den  grofiartigen  Plan, 
den  er  trotz  mancher  Stockungen  in  vier  Jahren  zur  Ausfiihrung  brachte.  Herbst 
1508  begann  er  allein  mit  der  Malerei.  Am  27.  Januar  1509  klagte  er  in  einem 
Briefe  an  seinen  Vater,  da6  er  vom  Papste  noch  nicht  einen  Groschen  erhalten 
habe,  daB  aber  seine  Arbeit  auch  noch  nicht  so  weit  vorgeschrilten  sei,  dafi  sie 
Bezahlung  verdiene.  Im  September  1510  waren  die  Mittelbilder  der  Decke,  die 
Halite  des  Werkes,  vollendet;  dann  lieB  Michelangelo  die  Arbeit  liegen,  weil  er 
keine  Bezahlung  erhielt  und  deshalb  zweimal  nach  Bologna  reisen  mufite,  wo  sich 
Julius  11.  damals   aulhielt.    Im  Januar  1511   nahm  er  die  Arbeit  wieder  auf.    Am 

14.  August  veranstaltet  der  Papst  eine  Messe;  erst  nach  derselben  kann  die 
Malerei  der  Fresken  in  den  Zwickeln  und  Bogenfeldern  in  Angriff  genommen  sein. 
Ihre  Vollendung  erfolgte  Ende  Oktober  1512,  kurz  vor  AUerheiligen. 

Aber  Michelangelo  sollte  dieser  Kapelle  noch  weiteren  Schmuck  verleihen. 
Paul  III.  brachte  den  in  Florenz  weilenden  Kiinstler  nach  Rom,  die  Altarwand  der 
Sistina  mit  einem  machtigen  Fresko   des  Jiingsten  Gerichtes  zu   bedecken.    Am 

15.  April  1535  erhielt  der  Baumeister  der  Engelsburg,  der  Florentiner  Perino  del 
Capitano,  25  Dukaten  fiir  das  Geriist  ausgezahlt,  das  er  in  der  Sixtinischen  Kapelle, 
„wo  der  Maler  Michelangelo  malt",  aufgestellt  hatte.  Um  diese  Zeit  mufi  Michel- 
angelo also  bereits  mit  der  Ausfiihrung  in  Fresko  begonnen  haben,  die  er  ganz 
allein  bis  zu  Ende  durchfuhrte.  Nach  dem  Bericht  Vasaris  wurde  das  Gemalde 
am  Weihnachtstage  1541  enthiillt,  „zum  Staunen  Roms,  ja  der  ganzen  Welt".  Dem 
Jiingsten  Gericht  muBten  auBer  den  beiden  erwahnten  Fresken  Peruginos  auch  zwei 
der  Liinettenbilder  Michelangelos  weichen,  die  die  Vorfahren  Christi  darstellen. 
Ihre  Kompositionen  sind  uns  in  Stichen  von  Adam  Ghisi  erhalten  (Nr.  62  bis  65 
der  Folge  der  Stiche  nach  den  Deckenfiguren).  (Vgl.  Steinmann,  Die  Sixtinische 
Kapelle,  Bd.  I  und  II.    Miinchen,  Bruckmann.) 


23 


24 


25 


26 


w 


u 


27 


28 


29 


30 


31 


Rom,  Sixtinische  Kapelle 

The  prophet  Zachariah 


Der  Prophet  Zacharias 

1508—1510 


Le  prophete  Zacharie 


32 


Rom,  Sixtinische  Kapelle 

The  prophet  Joel 


Der  Prophet  Joel 

1508—1510 


Le  prophete  Joel 


33 


Rom,  Sixlinisctie  Kapelle 


The  Sibyl  of  Delphi 


Die  delphische  Sibylle 

150S— 1510 


La  Sibylle  de  Delphes 


34 


Rom,  Sixtinische  Kapelle  Fresko 

Der  Prophet  Jesaias 
The  prophet  Esaias  1508—1510  Le  prophete  Isaie 


Michelangelo    3 


35 


Rom,  Sixtiiilsclie  Kapelle 


Die  erythraische  Sibylle 
The  Erythrean  Sibyl  1508—1510  La  Sibylle  erythree 


36 


Rom,  Sixtinische  Kapelle  Fresko 

Der  Prophet  Hesekiel 
The  prophet  Ezekiel  1508—1510  Le  prophete  Ezechiel 


37 


Rom,  Sixtiiiische  Kapelle 

The  Sibvl  of  Cumae 


Die  cumaische  Sibylle 

1508—1510  La  Sibylle  de  Cumes 


38 


Rom,  SixUnische  Kapelle 

The  prophet  Daniel 


Der  Prophet  Daniel 

1508-1510 


Le  piophele  Daniel 


39 


Rom,  Sixtinische  Kapelle 

The  Persian  Sibyl 


Die  persische  Sibylle 

1508—1510 


La  Sibylle  de  Perse 


40 


Rom,  Sixtinisciie  Kapelle 


Der  Prophet  Jeremias 
The  prophet  Jeremiah  1508-1510  Le  prophete  Jeremie 


41 


Rom,  Sixtinische  Kapelle 

The  Libyan  Sibyl 


Die  libysche  Sibylle 

1508-1510  La  Sibylle  libyque 


42 


Rom,  Sixtinische  Kapelle 

The  prophet  Jonah 


Der  Prophet  Jonas 

1508—1510 


Le  prophete  Jonas 


43 


Rom,  Slxtinische  Kapelle 


Die  delphische  Sibylle  (Ausschnitt) 

The  Sibyl  of  Delphi  1508-1510  La  Sibylle  de  Delphes 

(Detail)  (Detail) 


44 


Rom,  Sixtinische  Kapelle 

Die  cumaische  Sibylle  (Ausschnitt) 

The  Sibyl  of  Cumae  1508-1510  La  Sibylle  de  Cumes 

(Detail)  (Detail) 


45 


Rom,  Sixtinisclie  Kapelle 

The  prophet  Esaias 
(Detail) 


Der  Prophet  Jesaias  (Ausschnitt) 

1508—1510 


Le  prophete  Isaie 
(Detail) 


46 


Rom,  Sixtinische  Kapelle  Fresko 

Der  Prophet  Jeremias  (Ausschnitt) 
The  prophet  Jeremiah  1508-1510  Le  prophete  Jeremie 


(Detail) 


(Detail) 


47 


*Rom,  Sixtinisctie  Kapelle  Fresko 

Figur  zur  Rechten  der  delphischen  Sibylle 
Figure  on  the  right  of  the  Sibyl  of  Delphi         1508—1510  Figure  a  droite  de  la  Sibylle  de  Delphes 


48 


Rom,  Slxtinisclie  Kapelle 


Figur  zur  Linken  der  delphischen  Sibylle 
Figure  on  the  left  of  the  Sibyl  of  Delphi  1508—1510         Figure  ^  gauche  de  la  Sibylle  de  Delphes 


49 


Rom,  Sixtinische  Kapelle 

Figur  zur  Rechten  Joels 
Figure  on  the  right  of  Joel  1508-1510  Figure  a  droite  de  Joel 


50 


Rom,  Slxtinische  Kapelle 

Figur  zur  Linken  Joels 

Figure  on  the  left  of  Joel  1508-1510 


Figure  a  gauche  de  Joel 


Michelangelo    4 


51 


Rom,  Slxtinische  Kapelle  Fresko 

Figur  zur  Rechten  der  erythraischen  Sibylle 
Figure  on  the  right  of  the  Erythrean  Sibyl         150S-1510  Figure  a  droite  de  la  Sibylle  erythree 


52 


Rom,  Sixtlnische  Kapelle  Fresko 

Figur  zur  Linken  des  Jesaias 
Figur  on  the  left  of  Esaias  1508-1510  Figure  a  gauche  d'Isaie 


53 


Rom,  Sixtinische  Kapelle 

Figur  zur  Rechten  des  Jesaias 
Ficrure  on  the  right  of  Esaias  1508-1510  Figure  a  droite  d'Isaie 


54 


Rom,  Sixtinlsche  Kapelle  Fresko 

Figur  zur  Linken  der  erythraischen  Sibylle 
Figure  on  the  left  of  the  Erythrean  Sibyl        1508—1510  Figure  a  gauche  de  la  Sibylle  erythree 


55 


r  rcbivu 
Rom,  Sixtinische  Kapelle 

Figur  zur  Linken  der  cumaischen  Sibylle 
Figure  on  the  left  of  the  Sibyl  of  Cumae         1508-1510  Figure  a  gauche  de  la  Sibylle  de  Cumes 


56 


Rom,  Sixtinlsche  Kapelle 


Figur  zur  Rechten  der  cumaischen  Sibylle 
Figure  on  the  right  of  the  Sibyl  of  Cumae    1508—1510  Figure  a  droite  de  la  Sibylle  de  Cumes 


57 


Frcsko 

Rom,  Sixtinische  Kapelle 

Figur  zur  Rechten  des  Hesekiel 
Figure  on  the  right  of  Ezel^iel  1508-1510  Figure  a  droite  d'Ezechiel 


58 


Rom,  Sixtinisctie  Kapelle  Fresko 

Figur  zur  Linken  des  Hesekiel 

Figure  on  the  left  of  Ezekiel  1508—1510  Figure  a  gauche  d'Ezechiel 


59 


,€     C     C  /   c     '  C  C 


Rom,  Sixtinische  Kapelle  Fresko 

Figur  zur  Rechten  Daniels 
Figure  on  the  right  of  Daniel  1508—1510  Figure  h  droite  de  Daniel 


60 


Rom,  Sixtinlsclie  Kapelle  Fresko 

Figur  zur  Linken  Daniels 

Figure  on  the  left  of  Daniel  1508—1510  Figure  a  gauche  de  Daniel 


61 


Rom,  Sixtinische  Kapelle  ^resKo 

Figur  zur  Rechten  der  persischen  Sibylle 
Figure  on  the  right  of  the  Persian  Sibyl         1508-1510  Figure  a  droite  de  la  Sibylle  de  Perse 


62 


Rom,  Sixtinisclie  KaptUc 

Figur  zur  Linken  der  persischen  Sibylle 
Figure  on  the  left  of  the  Persian  Sibyl  1508-1510  Figure  a  gauche  de  la  Sibylle  de  Perse 


63 


„         „.,,.,      ,.       ,,  rresKo 

Rom,  Sixtinische  Kapelle 

Figur  zur  Rechten  der  libyschen  Sibylle 
Figure  on  the  right  of  the  Libyan  Sibyl  1508-1510  Figure  a  droite  de  la  Sibylle  libyque 


64 


Rom,  Sixtinische  Kapelle 

Figur  zur  Linken  der  libyschen  Sibylle 
Figure  on  the  left  of  the  Libyan  Sibyl  1508-1510  Figure  a  gauche  de  la  Sibylle  libyque 


65 


Figur  zur  Rechten  des  Jeremias 
Figure  on  the.  right  of  Jeremiah  1508—1510  Figure  a  droite  de  Jeremie 


66 


Rom,  Sixtinische  Kapelle  In; 

Figur  zur  Linken  des  Jeremias 
Figure  on  the  left  of  Jeremiah  1508-1510  Figure  a  gauche  de  Jeremie 


Michelangelo    5 


67 


3     TX 


UJ 


i: 


c    ^ 


69 


o 
O   2 


s  — 


70 


o  Si 

•a  1 

c  — 

3  2 


71 


15 

O      I 


72 


Ctj   - 


73 


74 


76 


76 


uj  ::i 


77 


78 


79 


Aminadab 


Aminadab 


Rom,  Sixtinisctie  Kapelle 

Boas  and  Obed 


5oas  und  Obed 

1511  —  1512 


Booz  et  Obeth 


80 


Abiah 


Abias 


Roni,  Sixtinische  Kapelle 

Jotham  und  Ahas 
Jotham  and  Ahas  1511—1512  Joathan  et  Achaz 


81 


Abiud  and  Eliakim 


Abiud  und  Eliakim 

1511-1512 


Abiud  et  Eliachim 


Rom,  Sistinlsclic  Kapclle 

Achin  and  Eliud 


Achin  und  Eliud 

1511-1512 


Achin  et  Eliud 


82 


Jacob  and  Joseph 


Jakob  und  Joseph 

1511—1512 


Jacob  et  Joseph 


Rom,  SiMinisclK-  Kapelle 

Eleasar  and  Mathan 


Eleasar  und  Matthan 

1511-1512 


Eleazar  et  Mathan 


Michelangelo    6 


83 


Asor  and  Zadok 


Asor  und  Zadok 

1511—1512 


Azor  et  Sadoch 


Kom,  Sixiinisclic    h  jpvlk' 

Jechonia  und  Sealthiel 

Jechonia  and  Sealthiel  1511—1512  Jechonias  et  Salathiel 


84 


Manasse  and  Amon 


Manasse  und  Amon 

1511—1512 


Manasse  et  Amon 


Rom,  Sixtinisclie  Kapelle  Fresken 

Josaphat  und  Joram 
Josaphat  and  Joram  1511—1512  Josaphat  et  Joram 


85 


David  and  Salomon 


David  und  Salomo 

1511-1512 


David  et  Salomon 


Rom,  Sixtinisclie  Kapelle 

Naason 


Nahesson 

1511  —  1512 


Naason 


86 


•London,  Nationalgalerie 

The  entombment 


Die  Grablegung  Christ! 

Urn  1512 


Auf  Holz,  H.  1,66,  B.  1,48 

La  mise  au  tombeau 


87 


1 1^  \  /Y 


*Rom,  S.  Pietro  in  vlncoli 

Moses 


Marmor,  11-  2,55 


Moses 
Urn  1513—1516 


Moise 


88 


Rom,  S.  Pietro  in  vincoli 

Moses 


Marmor,  li.  2,. 


Moses 

Urn  1513— 1516 


Moise 


89 


Rom,  S.  Pietro  In  vincoli 

Moses  (Detail) 


Moses  (Teilbild) 

Urn  1513-1516 


Moise  (Detail) 


90 


Rom,  S.  Pletro  in 


Moses  (Detail) 


Moses  (Teilbild) 

Um  1513-1516 


Moise  (Detail) 


91 


'  I'aris,  Louvre 


Marmor,  H.  2,2U 


The  fettered  slave 
(Tomb  of  Julius  II.) 


Der  gefesselte  Sklave 

(Grabmal  Julius'  11.) 
Um  1513-1516 


L'esclave  lie 
(Tombeau  de  Jules  II) 


92 


f  Paris,  Louvre 

The  dying  slave 
(Tomb  of  Julius  II.) 


Der  sterbende  Sklave 

(Qrabmal  Julius'  II.) 
Um  1513-1516 


Marmor,  H.  2,30 

L'esclave  mourant 
(Tombeau  de  Jules  II) 


93 


Florenz,  Accademia  delle  belle  Arti 


Unfinished  statue 


Unvollendete  Figur 

1518-1522 


Marmor,  H.  ca.  2,30 

Statue  inachevee 


94 


Florenz,  Accademia  delle  bMe  Arti 

Unfinished  statue 


Unvollendete  Figur 

1518-1522 


>\ariiior,  II.  ca   i',30 

Statue  inachevee 


95 


'  Florenz,  Accademia  delle  belle  Art! 


Unfinished  statue 


UnvoUendete  Figur 

1518-1522 


Marmor,  H.  ca.  2,30 

Statue  inachevee 


96 


■  Plorenz,  Accademia  delle  belle  Arti 
Unfinished  slatue 


Marmor,  H.  ca.  2,30 


Unvollendete  Figur 

1518-1522 


Statue  inachevee 


97 


^Rom,  Sa.  Maria  sopra  Minerva  Marmor,  H.  2,08 

Der  auferstandene  Christus 
The  resurrected  Christ  1518—1521  Le  Christ  tessuscite 


98 


*Florenz,  Accademla  delle  belle  Art! 


Victorv 


Marmor,  H.  2,80 


Der  Sieg 

Urn  1525 


La  victoire 


Michelangelo    7 


99 


o  ^ 

Cl,    « 
OJ     «      I 


ex' 
a. 


U 


100 


''Florenz,  San  Lorenzo  (Sagrestia  nuova)  Marmor    H.  2  07 

Die  Madonna  mit  dem  Kinde 
Virgin  IVlary  with  child  1524-1532  La  Vierge  avec  I'enfant 


101 


•Florenz,  ban  Lorenzo  (Sagrcsiia  iiuova) 

Grabmal  des  Giuliano  de' Medici 
Tomb  of  Giuliano  de' Medici  1521—1534  Tombeau  de  Julien  de  Medicis 


102 


"Florenz,  San  Lorenzo  (Sagrestia  nuova) 


Marmor,  H.  1,80 


Giuliano  de'  Medici 

1524-1533 


103 


104 


105 


'Florenz,  San  Lorenzo  (Sagrestia  nuova) 

Grabmal  des  Lorenzo  de'  Medici 
Tomb  of  Lorenzo  de'  Medici  1521—1534  Tombeau  de  Laurent  de  Medicis 


106 


*Florenz,  San  Lorenzo  (Sayreslia  nuova) 


Marmor,  H.  1,8 


Lorenzo  de'  Medici 

(1524-1533) 


107 


108 


Ms: 


o   —  '^ 


Q  o 


O  S 


109 


'Florenz,  San  Lorenzo  (Sagrestla  nuova) 

Die  Morgendammerung  (Teilstiick) 

(Vom  Grabmal  des  Lorenzo  de' Medici) 

Dawn  (Detail)  1524—1533  L'aurore  (Detail) 

(Tomb  of  Lorenzo  de'  Medici)  (Tombeau  de  Laurent  de  Medicis) 


110 


Ill 


<^     a    •— 


112 


Entrance-hall 


Biblioteca  Laurenziana 
Vorhalle 
1524—1534 


Vestibule 


113 


'Florenz,  Museo  nazionale  Marmor,  H.  1,49 

David 

(fiuher  Apollo  genannt) 

David  Um  1530  David 

(formerly  named  Apollo)  (autrefois  nomme  ApoUon) 


114 


*  Petersburg,  Ereniitage 

Kauernder  Jiingling 
A  cowering  young  man  Um  1513—1516 


Marmor,  H.  0,56 


Jeune  homme  accroupi 


Michelangelo    8 


115 


'Rom,  Vatikan   (Sixtinische  Kapelle) 
The  last  judgment 


Das  jiingste  Gericht 

1534—1541 


Le  jugement  dernier 


116 


Rom,  Sixtinische  Kapelle 

Christ  and  the  Virgin  Mary 
Detail  from  the  last  judgment 


Christus  und  die  Madonna 

Teilstiick  aus  dem  jiingsten  Gericht 
1534—1541 


Le  Christ  et  la  Madone 
Detail  du  jugement  dernier 


117 


118 


119 


Rom,  Sixtinische  Kapelle 


The  last  judgment 
Detail 


Das  jiingste  Gericht 

Teilstiick 


Le  jugement  dernier 
Detail 


120 


Rom,  Sixtinische  Kapelle 


The  last  judgment 
Detail 


Das  jiingste  Gericht 

Teilstuck  Le  jugement  dernier 

Detail 


121 


122 


O 


123 


Rom,  Sixtinische  Kapelle 


The  last  judgment 
Detail 


Das  jiingste  Gericht 

Teilstuck  Le  jugement  dernier 

Detail 


124 


Rotn,  Sixtinlsche  Kapelle 


The  last  judgment 
Detail 


Das  jiingste  Gericht 

Teilstuck 


Le  jugement  dernier 
Detail 


125 


Rom,  Sixtlnische  Kapelle 


The  last  judgment 
Detail 


Das  jiingste  Gericht 

Teilstiick 


Le  jugement  dernier 
Detail 


12G 


't-lorciii,  musco  nazionaie 


A\armor,  H.  0,6o 


Brutus 

Nach  1539 


127 


i-Rom,  S.  Pietro  in  vincoli 


Marmor,  H.  2,03 


Rachel 


Rahel 

Urn  1543-1545 


Rachel 


128 


'^Rom,  S.  Pietro  in  vlncol 


Marmor,  H.  2,07 


Lea 

Um  1543—1545 


129 


130 


"n     cm 


Q 


Michelangelo    9 


131 


'Rom,  Vatikan  (Cappella  Paolina)  Fresko 

Die  Bekehrung  Pauli 

The  conversion  of  St.  Paul  1542-1550  La  conversion  de  Sainl  Paul 


132 


133 


lOi  !i  -SciOC.KAi'iiiA  !  X  li'.^v^   !:xkaum.ari-a\ic:hae£|j 

i;r]N-LVCEM-AEDIT/' 


■The  plan  of  the  Capitol 
After  the  engraving  of  Du  Perac  (1569) 


134 


AROTI-A-STEPHANO'DVPERAC-PAKISIENSIACCVRATEDELINEAIA  J 
SALYTISOO&LXIX 


ifmif  9»»»»f  rr  .^t^f  f  f  ftf  i 


:  (1569) 


Plan  du  Capitole 
D'apres  la  gravure  de  Du  Perac  (1569) 


135 


136 


u 


137 


D-  .b 


138 


Michelangelo    9-' 


139 


*Rom,  Palazzo  Rondanini 


Pieta 

Urn  1550 


140 


'  Florenz,  Dom 


The  entombment 


Marmor,  H.  2,34 

Die  Grablegung  Christi 

Seit  1550  La  mise  au  tombeau 


141 


XI 

" 

o 

^ 

(/I 

<1J 

<iJ 

a, 

c 

Q    .^ 


142 


Die  Kuppel  der  Peterskirche 
The  cupola  of  St.  Peter's  church  1557—1592       La  coupole  de  I'eglise  de  Saint  Pierre 


143 


Porta  Pia,  inner  side 


Porta  Pia,  innere  Seite 

Seit  1561 


Porta  Pia,  cote  interieur 


144 


145 


^  s 


146 


ANHANG 


ZWEIFELHAFTE   WERKE 


APPENDIX 
DUBIOUS   WORKS 


SUPPLEMENT 

CEUVRES   DOUTEUSES 


Michelangelo     10 


147 


I-lorenz,  Museo  nazionale 

Mask  of  a  satyr 


Marmor,  B.  0,21 


Satyrmaske 


Masque  d'un  satyre 


149 


s        J 


O  o 


150 


151 


►Rom,  Sa.  Maria  in  Aracocli 


Grabmal  des  Cecchino  Bracci 
Sepulchral  monument  of  Cecchino  Bracci         1544  Monument  funeraire  de  Cecchino  Bracci 


152 


o  7 


u 


< 


153 


■Berlin,  Kaiser  Friedrich-Museum 

Johannes  der  Taufer 
St.  John  the  Baptist  (II  Giovannino) 


Marmor,  H.  1,42 

Saint  Jean  Baptiste 


154 


*  Florenz,  Uffizien 


Bacchus  und  Ampelos 


155 


156 


'■London,  Victoria-mid- Albert-Museum 

Herkules  und  Cacus 
Hercules  and  Cacus  Um  152S 


Hercule  et  Cacus 


157 


*Florenz,  Museo  Buonarroti  stucK 

Simson  als  Sieger  uber  einen  Philister 
Samson  as  victor  over  a  Philistine      Urn  1528        Samson  vainqueur  d'un  Philistin 


158 


*VVien,  Akademie  der  bildenden  Kiinste 


Auf  Holz,  Durchmesser  0,66 


Madonna  mit  dem  Kinde  und  dem  kleinen  Johannes 
Virgin  Mary  with  child  and  little  St.  John  La  Vierge  avec  I'enfant  et  Saint  Jean 


159 


London,  Nationalgalerle  Auf  Holz,  H.  1,00,  B.0,S2 

Die  Madonna  mit  dem  Kinde,  dem  kleinen  Johannes  und  vier  Engeln 

La  Vierge  avec  I'enfant,  Saint  Jean  et 
quatre  anges 


Virgin  Mary  with  child,  St.  John  and 
four  angels 


160 


161 


^i^?!^ 


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